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What Can We Expect from DC’s ‘Gotham’ TV Series?

DC Comics
After the huge success of Marvel’s The Avengers, then the monumental hype built up in anticipation of ABC’s Agents of S.H.I.E.L.D., DC has jumped on the superhero crossover universe bandwagon. Last summer, Zak Snyder announced Batman vs. Superman as the sequel to Man of Steel — with the controversial casting of Batfleck — which will lead to a Justice League movie. Then DC teamed up with Fox to announced their own version of Agents of S.H.I.E.L.D.: Gotham, a TV series that would follow James Gordon. Recently, Danny Cannon signed on to direct the pilot of Gotham as well as executive produce the series.
Cannon is a veteran of TV, having produced and directed shows like CSI: Crime Scene Investigation, CSI: Miami, Dark Blue, Nikita, andThe Tomorrow People. However, fans of comics will be most excited about Cannon signing on to the project because he directed 1995’s Judge Dredd, an adaptation of the comic book character. Cannon joins Bruno Heller who created and wrote the script for Gotham’s pilot.
It’s good that Cannon has had experience working with action dramas on The CW because it’s home to DC’s already-successful action series, Arrow, as well as its spinoff, The Flash. Though Gotham will air on Fox, Cannon will have the ability and experience to create a cohesive shared universe between all three of the TV series.
As far as the plot of Gotham, all we know so far is that it will center on a younger version of James Gordon, an ally of Batman’s from the comic books. The most recent live-action incarnation of the character was played by Gary Oldman in Christopher Nolan’s Batman film series
Given the steadily declining ratings of S.H.I.E.L.D. and the increasing popularity of Arrow as well as The Flash (which hasn’t even shot a pilot yet,) it looks like DC might take over the comic book world on television. We have high hopes for Gotham, though if S.H.I.E.L.D. has taught us anything, it’s not to get our hopes up too high.
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IFC Films
As the winds of award show nominations pick up, you won't be surprised to find 12 Years a Slave at the top of every list. But the Academy, the Golden Globes, and the various other captains of the circuit are inclined to overlook some of our smaller, more personal favorites in lieu of the big, grand, and wholly unavoidable awardable pictures like Steven McQueen's American slavery epic. That is not to rob 12 Years of Slave of its due credit — the film absolutely deserves as much awards attention as it is getting. It's simply the sort of movie that you know will get awards attention right out of the gate... whereas pictures just as pristine such as Noah Baumbach and Greta Gerwig's Frances Ha, likely won't be the center of attention come Oscar night. But that's what the Independent Spirit Awards are for: to recognize the movies that we cherish with intimacy rather than with grandeur. Among them are Frances Ha, new release Nebraska, Robert Redford's nearly wordless All Is Lost (also a viable candidate for the Academy, due to its own dezzling veneer), the Coen Bros' upcoming Inside Llewyn Davis, and, yes, of course, 12 Years a Slave.
Check out the full list of nods below.
BEST FEATURE 12 Years A Slave All Is Lost Frances Ha Inside Llewyn Davis Nebraska
BEST LEAD FEMALE Cate Blanchett, Blue Jasmine Julie Delpy, Before Midnight Gaby Hoffman, Crystal Fairy Brie Larson, Short Term 12 Shailene Woodley, The Spectacular Now
BEST LEAD MALE Bruce Dern, Nebraska Chiwetel Ejiofor, 12 Years A Slave Oscar Isaac, Inside Llewyn Davis Michael B. Jordan, Fruitvale Station Matthew McConaughey, Dallas Buyers Club Robert Redford, All Is Lost
BEST SUPPORTING FEMALE Melonie Diaz, Fruitvale StationSally Hawkins, Blue Jasmine Lupita Nyong'o, 12 Years A Slave Yolanda Ross, Go For Sisters June Squibb, Nebraska
BEST SUPPORTING MALE Michael Fassbender, 12 Years A Slave Will Forte, Nebraska James Gandolfini, Enough Said Jared Leto, Dallas Buyers Club Keith Stanfield, Short Term 12
BEST DIRECTOR Shane Carruth, Upstream Color J.C. Chandor, All Is Lost Steve McQueen, 12 Years A Slave Jeff Nichols, Mud Alexander Payne, Nebraska
BEST FIRST FEATUREBlue Caprice Concussion Fruitvale Station Una Noche Wadjda
JOHN CASSAVETES AWARD Computer Chess Crystal Fairy Museum Hours Pit Stop This Is Martin Bonner
BEST SCREENPLAY Woody Allen, Blue Jasmine Julie Delpy, Ethan Hawke, Richard Linklater, Before Midnight Nicole Holofcener, Enough Said Scott Neustadter &amp; Michael H. Weber, The Spectacular Now John Ridley, 12 Years A Slave
BEST FIRST SCREENPLAY Lake Bell, In A World Joseph Gordon-Levitt, Don Jon Bob Nelson, Nebraska Jill Soloway, Afternoon Delight Michael Starburry, The Inevitable Defeat Of Mister &amp; Pete
BEST CINEMATOGRAPHYSean Bobbitt, 12 Years A Slave Benoit Debie, Spring Breakers Bruno Delbonnel, Inside Llewyn Davis Frank G. Demarco, All Is Lost Matthias Grunsky, Computer Chess
BEST EDITING Shane Carruth &amp; David Lowery, Upstream Color Jem Cohen &amp; Marc Vives, Museum Hours Jennifer Lame, Frances Ha Cindy Lee, Una Noche Nat Sanders, Short Term 12
BEST INTERNATIONAL FILM A Touch Of Sin Blue Is The Warmest ColorGloriaThe Great Beauty The Hunt
BEST DOCUMENTARYThe Act Of Killing After Tiller Gideon's ArmyThe Square Twenty Feet From Stardom
PIAGET PRODUCERS AWARDToby Halbrooks &amp; James M. JohnsonJacob JaffkeAndrea RoaFerderick Thornton
TRUER THAN FICTION AWARDS Kalyanee Mam, A River Changes Course Jason Osder, Let The Fire Burn Stephanie Spray &amp; Pancho Valez, Manakamana
SOMEONE TO WATCH AWARDS Aaron Douglas Johnston, My Sisters' Quinceanera Shaka King, Newlyweeds Madeleine Olnek, The Foxy Merkins
ROBERT ALTMAN AWARDMud

After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
1/5
More Reviews:'The Hunt' Is Frustrating and Fantastic'You're Next' Amuses and Occasionally Scares'Short Term 12' Is Real and Miraculous
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The ABCs of Death, an anthology of 26 short films about people being killed in spectacularly gruesome, farcical, and universally disgusting ways, is scary in a way its makers may not have anticipated: it shows how deeply uninspired and visionless horror-movie filmmaking has become.
Ever since the genre stopped caring about bottling the sensation of fear in favor of shock and gore, it’s gotten away from true horror, a format that works best when deeply invested in the psychology of fear. Movies like the Saw franchise and its various torture-porn imitators have become less and less interested in messing with their audience’s brains than moving the goalpost of the grotesque ever further, an objective that ensures obsolescence. There are only so many severed limbs and plucked eyeballs you can see before you’re irrevocably desensitized. What haven’t we seen that could still shock us? The list of possibilities grows smaller and smaller. Tom Six actually managed to horrify us in a whole new way with The Human Centipede, but even that nightmare concept became commercialized, sequelized, and stale.
Twenty-seven directors, all supposedly luminaries in the horror movie world, were brought in to film two-to-four minute segments for The ABCs of Death, in an attempt to show the diversity the genre still posseses. Sadly, rather than expand the parameters of horror, these twenty-seven filmmakers mostly converge on the same tropes. There are three conditions for each short: they must begin and end on an image of red (guaranteeing that at least half of the shorts begin and end with a shot of blood), there must be one death, and they must correspond to a letter of the alphabet — meaning we get titles like “F is for Fart,” “L is for Libido,” and “W is for WTF.” That ensures the audience will experience acute B for Boredom on account of L for Laziness.
Anyone who’s made short films can tell you that cinematic storytelling in under 10 minutes tends toward heightened emotions, with narrative twists that seek to compress a feature’s worth of sensation into a tiny window. Add a requisite horror element and you get a succession of Jack in the Box effects. “D is for Dogfight” is transgressive, I suppose, in its depiction of a man graphically biting a dog, but it's diminished because, in the end, that short is entirely about how transgressive it is. And most of these films are just wafer-thin hooks for startling images. The opening salvo of a segment, “A is for Apocalypse,” about a wife taking care of her bedridden husband who reaches a drastic decision regarding his care, should play like a more gruesome version of Michael Haneke’s Amour. Instead it is robbed of any resonance because director Nacho Vigolondo provides no context to the couple's relationship.
However, the filmmakers here who successfully answer the question “What can still scare us?” locate that answer where great artists before them did: in real-world fears. Eli Roth’s Hostel movies stand as credible horror unlike the Saw flicks because they tap a uniquely insular (and uniquely American) fear of the rest of the world beyond the United States. In The ABCs of Death Hobo with a Shotgun auteur Jason Eisener does just that in “Y is for Youngbuck,” which translates a very real fear of childhood sexual abuse into cathartic revenge.
Similarly Simon Rumley’s “Pressure” taps a mother’s uncertainty about how to provide for her children, and shows just how far she is willing to go to support them. Lee Hardcastle’s “T is for Toilet” finds horror in what used to be an old standby in the heyday of Polanski: plumbing, and its function of keeping us blissfully unaware of where excrement goes. Ti West (The House of the Devil, The Innkeepers), possibly the most original American horror maestro of the last decade, dives deep into the realm of body horror with “M is for Miscarriage,” as do Amer masterminds Bruno Forzani and Héléne Cattet with the ode to David Cronenberg “O is for Orgasm.”
These shorts are the ones that actually get inside our heads. If our brains are our biggest erogenous zone, so is it also the nexus of our fears. Not our stomachs, nor our adrenal glands. That’s why you need story to fuel and contextualize the greatest scares. Without story giving context to sex, you’ve got YouPorn. Without story giving context to horror, you’ve got much of The ABCs of Death.
1.5/5
What did you think of the film? Let Christian Blauvelt know on Twitter @Ctblauvelt
[Photo Credit: Drafthouse Films]
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Sometimes a director has a favorite actor that they jibe with whom they cast in a whole whack of movies in a row. Think Scorsese and DiCaprio Wes Anderson and Bill Murray or Sofia Coppola and Kirsten Dunst. It's a sort of professional infatuation that can serve a project well but it can also lull them into self-indulgence. Although this is only the second time that Killing Them Softly's writer/director Andrew Dominik has worked with Brad Pitt it feels like they have a certain camaraderie. The symbiosis previously worked in their favor in 2007's The Assassination of Jesse James by the Coward Robert Ford. This time around they never quite find the same rhythm.
Of course Killing Them Softly has an entirely difference cadence than that golden-hued meditative Western; it's stylishly violent and blackly hilarious. After all the catalyst for this whole affair is a half-cocked scheme cooked up by a wanna-be gangster nicknamed Squirrel (Vincent Curatola) and carried out by a desperate ex-con (Scoot McNairy) and a scummy Australian junkie (Ben Mendelsohn) who steals and sells purebred dogs for cash. Their plan to knock over a mobbed-up card game is air tight (or so it seems): the game runner Markie (Ray Liotta) has confessed to setting up a heist of his own game in the past. The knuckleheads think the card-players will blame him again.
Unfortunately for them Jackie Cogan (Pitt) is called in to investigate the matter. His record is impeccable his glasses mirror-slick and his hands steady. His technique is of course to kill his victims "softly " from a distance. "It's so embarrassing " he comments to a middleman played by Richard Jenkins to watch his targets plead and cry and lose control of their bodily functions. It's just as embarrassing to see his colleagues lose their mettle like Mickey (James Gandolfini) a gangster he called in to help out. Mickey is a dogged drunk and a womanizer who's given to rapturous platitudes about a prostitute he knew in Florida. "There's no ass in the whole world like a young Jewish girl who's hooking " he tells an increasingly frustrated Jackie. Grossly funny scenes like this the scatological problems one encounters while driving dog-napped pups across country and an explosion gone awry are outweighed by a weirdly bloated narrative that makes pits stops so characters can loll in junkie nods to the tunes of the Velvet Underground.
The changing political climate of the era is used as a clumsy foil for this underground economy. At first it's interesting and makes you feel a bit clever to notice the TV in the background playing an old clip of George W. Bush droning on about the economy or a huge political ad on a billboard looming over a desolate area. As time goes on Bush is replaced by Obama (first as senator later as president) on TV but nothing really changes for these people or their situations. Midway through it's obvious and by the end overbearing especially as Jackie lectures Jenkins's lawyer (and us) about why the system is as screwed as the characters. "America's not a country it's a business. Now f**king pay me " he tells Jenkins's Driver in an echo of the classic Goodfellas line uttered by Liotta.
Dominik has only made three films but he's a formidable writer and director with a keen eye for assembling ensemble casts. It's possible that time and multiple viewings will treat Killing Them Softly as well as it has The Assassination of Jesse James or Chopper but for now it works better as a character study or perhaps a showpiece for its talented performers than an overall experience.

David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
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Just to remind everyone, this is the 14th season of Dancing With The Stars. That’s right. We’ve seen 13 different groups of celebrities awkwardly wiggle their hips for a shot at glory, and somehow we’re not over it yet. Fan favorites from Sabrina Bryan and Kirstie Alley are back this season to compete for the coveted title (and somehow, Bristol Palin ended up in there too).
This season, DWTS has modified scoring to include half points, and whether it’s to earn ratings or to test our math skills, we’re not sure. But either way the stakes are higher than they’ve ever been… but then, how high were they to begin with?
This early in the season, it’s hard to tell who’s going to dominate, but every participant got off to a strong start. Well, almost every participant. (Remember, Pamela Anderson is competing this year.)
Season 4’s Joey Fatone gave us a fake-funny (and actually, kind of creepy) intro video followed by the cha-cha performed to “P.Y.T. (Pretty Young Thing)” with Kym Johnson. Okay, Joey was in *NSYNC – we know he can dance, so no surprises here. His facial expressions, though, were extreme to the point of distracting. The judges applauded his comeback, but Bruno Tonioli cautioned him to watch his technique this season.
Score: 20.5
Shawn Johnson, the youngest competitor this season, performed an upbeat foxtrot with partner Derek Hough. She was, as always, as bright and cheerful as her sunny yellow dress and the flower in her hair (which, by the way, was gigantic). And the former gymnast (and former DWTS champ) showed that her skills don’t end on the mat.
Score: 22
Cheetah Girl Sabrina Bryan was viewer’s choice for this season after her surprising elimination in Season 5. She performed the cha-cha to “What Makes You Beautiful” with partner Louis Van Amstel. You have to hand it to her: girlfriend is talented. All three judges warned her against overdancing: Len Goodman actually got booed for calling her too “hard-hitting.” But based on the audience’s overwhelming cheers, this girl isn’t going anywhere soon.
Score: 22.5
Season 5 winner Hélio Castroneves danced the foxtrot with partner Chelsie Hightower. It was good, if uneventful, but I’m more impressed by how dapper he looked in that suit. The dance was enjoyable if not earth-shattering, and his spirit shone through in his stage presence and characteristically upbeat demeanor: Len described him as a “joy to watch.” Side note: his intro video, filled with embarrassing falls and awkward butt grabs, was definitely the best of the night.
Score: 21.5
Pamela Anderson was, well, Pamela Anderson. Mostly naked and mostly weird, she seemed more concerned with her facial expressions, which rivaled Joey’s for general insanity. The distraction may have been intentional, though: Her dance was lackluster and despite her quip to partner Tristan MacManus that “you have to contain me somehow,” she seemed pretty well contained on her own.
Score: 17
Poor Melissa Rycroft. She can’t go anywhere without being identified as “that girl who was dumped on national TV.” The former Bachelor finalist and partner Tony Dovolani performed a showy foxtrot, and she was praised for her clean lines and technical skill, although both Bruno and Carrie Ann pointed out a lack of body contact.
Score: 21
Apolo Anton Ohno, Olympic speed skater and Subway spokesman extraordinaire, is back on DWTS to prove he can do more than be in commercials in which he makes “avocado” a 10-syllable word. Partner Karina Smirnoff acknowledges that he’s a bit “rusty,” and it definitely shows: Len calls it a bronze-medal performance. But their “Party Rock Anthem” cha-cha involved glow bracelets. I repeat, GLOW BRACELETS. How is that not gold-medal worthy?
Score: 22 (and a personal 28.5 for the best costumes of the night)
Bristol Palin, who as Pamela Anderson said “has the whole Tea Party behind her,” was supported by mom Sarah’s heavily emphasized presence in the audience (a ratings grab, but I’ll take it). Although her very presence this season raised eyebrows from viewers, Carrie Ann dubbed her “most improved,” and her cha-cha showed off a confidence we haven’t seen since… ever. An underdog story? Let’s not get our hopes up – it’s still the first episode, people.
Score: 19
Season 2 winner Drew Lachey has been out of the DWTS game for a while, and things have changed since his reign. His foxtrot was lackluster and the judges noted his rigidity, but the added drama of a boy-band rivalry (thanks to his brother Nick, who was in the audience) may keep him around for a few weeks longer.
Score: 21.5
Like Lachey, actress Kelly Monaco has been out of the loop for a long time since winning the show’s first season. That didn’t stop her, though: The pair’s cha-cha was one of the strongest dances of the evening, the sexual tension wasn’t awkward (a rarity on this show), and the judges praised her technical skill. “You weren’t this good in Season 1!” Len chided. Ouch.
Score: 21.5
Oh, Kirstie Alley, how we love you. Just when the show starts to drag, you come out and do something hilariously weird to keep everyone on their toes. I’m not talking about the dance – her foxtrot with partner Maksim Chmerkovskiy was great if not exceptional, but the real show started once she finished twirling: she threw off the whole crowd by locking lips with Tom Bergeron. And yes, it was just as weird as you’d imagine.
Score: 19, and a perfect 30 for the aftershow.
The night closed out with former football pro Emmitt Smith, whose cha-cha the judges pronounced the best performance of the evening. He and partner Cheryl Burke have insane chemistry, and they secured a strong lead going into the competition. Will they keep it up in the coming weeks? It’s hard to say but with hip movements like those, it doesn’t look like Smith is heading home anytime soon.
Score: 24.5
Did you watch the all-stars premiere? Will this season be better than ever? And do we live in a universe in which a Palin could actually (gasp!) win?
[Image Credit: ABC]
More:
Dancing With the Stars: All Stars Premiere: Which Couple Made Your Head Spin?
Maksim Chmerkovskiy Is Quitting Dancing With the Stars After 15 Seasons
Let’s Judge the Dancing With the Stars: All Stars Couples Pictures

While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]

Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
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S13:W5 Tonight was 80s Night on Dancing with the Stars and after Chynna Phillips' surprising elimination last week, all the celebrities were acutely aware of how instantly the competition can shift and how quickly it can be over for each of them. Additionally, we are now at the competition's halfway point, and so it became clear to all the celebrities that the competition for the mirror ball trophy had officially begun.
Hope Solo was up first and she danced a surprisingly messy and disorganized-looking tango. She wasn't very graceful and Len pointed out that she was too "willowy" for the tango to be a proper, structural dance. She got 24 points.
Then Carson Kressley took the stage and danced his jive, which was heartbreakingly disappointing. Carson missed several steps of the routine, and Anna's choreography was just way too advanced for him. The judges said it was really minimal, and Bruno said it was “a crowning achievement in madness.” He got 19 points. Nancy Grace was the third to dance and after Len commented last week that her dance lacked excitement and so she set out to make her rumba extra compelling -- and Len was pleased to tell her that her performance was effective and Bruno said it was one of her best performances. She got 22 points. Following Nancy was J.R., who went into this week looking to make it out of second place and finally bump Ricki Lake out of the top spot on the leader board. J.R. is without a doubt the best male competitor of the season, and the judges effusively praised his samba. He got 28 points and his first 10 in the competition. Rob Kardashian danced the samba and during rehearsals, Cheryl had trouble convincing him to be sexy with her. But after a while she was able to coax it out of him and Bruno said it was nice to see him using Cheryl as a partner rather than “hiding behind her.” He got 25 points, which is the highest score he’s received yet. Then came Chaz’s samba, and he completed the most movements we'd ever seen. The judges were very proud of him and gave him 21 points. David Arquette performed a pretty serious tango, and it was a little sad that it wasn’t livelier. But Bruno said it was fantastic and David earned 25 points, which was his highest score so far. And finally came Ricki Lake’s foxtrot, and in rehearsals Ricki said she was feeling so much pressure to surpass last week’s routine. And perhaps the anxiety got the best of her because the judges weren’t ecstatic over her dance and criticized her for occasionally being out of sync with her partner. She got 24 points.